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felassan · 4 years

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Dragon Age development insights from David Gaider - PART 3

This information came from DG on a recent SummerfallStudios Twitch stream where he gave developer commentary while Liam Esler continued playing DAO from where they had left off in Part 1 and Part 2. I transcribed it in case there’s anyone who can’t watch the stream (for example due to connection/tech limitations, data, time constraints, personal accessibility reasons, etc). A lot of it is centered on DAO, but there’s also insights into other parts of the franchise. Some of it is info which is known having been put out there in the past, and some of it is new. There’s a bit of overlap or repetition with topics covered in Parts 1 and 2. This post leaps from topic to topic as it’s a transcript of a conversational format. It’s under a cut due to length.

The stream can currently be watched back here. Next week LE will be streaming a different DAO playthrough with commentary from another guest. Two weeks from now LE and DG will return to continue this playthrough for another stream session like this one.

(Part 4, Part 5, Part 6)

[wording and opinions DG’s, occasionally LE’s; paraphrased]

The Battle of Ostagar cutscene is one of the first big cutscenes that got made during production. When it was shown to the team for the first time, it was one of those moments where DG felt like “Awesome, this is a game!” Context: During the development of a game it feels more like doing a series of disconnected tasks and assets rather than working on a game, so seeing stuff come together at times like this is rad. The first time it was shown, it had temporary placeholder voiceacting.

Pathfinding is always a nightmare to do, especially in games which involve a party of NPCs. As soon as other characters are involved alongside the PC, it’s exponentially more difficult and takes up a lot more resources. The PC is the most complex thing going on visually on-screen, with so many moving pieces, and in party-based games you have four [etc] of them. So, some critique that’s made of the DA games in regards to this subject which compares it to games like The Witcher doesn’t really make sense, as The Witcher has a solo PC.

‘Weird mage hats’ didn’t really become a trademark ‘DA thing’ akin to their place of random pieces of cheese around the world until later games. For DAO, someone probably asked the artists to create “mage helmets”. Mage hats actually looked better in the concept art than they did in-game. What happened was that they were already modelled and then they didn’t have time to re-do them.

DAO was made for PC first. The plan from the get-go though was that it would be an all-platform release (PC/360/PS3). Games like these are always made for the “lowest common denominator” from among the various platforms that they’re being planned to release for. Games have to be made for the most stringent/basic of the platforms because this makes for less conversion rate. At the time of DAO’s development, the PS3 was getting weak graphically and getting old, and this was quite a limitation: “Why do we have to limit [crowds?] because of this one platform?” “Well, we just gotta”. The original models were a bit too detailed. Later on, the artists started making models that had lower polycounts that they could put in a bit more of. DA was never really focused on making environments realistic in an ambient manner (making environments less “gamey” and more lived in, like having crowded places). They could have put more emphasis there but this would have led to a resources issue. Ambience basically wasn’t a high priority. As a writer DG isn’t keen on this decision and naturally he wanted the world to look more realistic, but he noted that it’s easy for him to say this when this would be work that he didn’t have to do personally.

During DAO development, they might have just had a dev sphere originally that was called “tech design”. DG thinks this was later broken up into systems design, combat design and maybe level design. Level designers are the people that are the implementers of the plot. Narrative design is a branch of the level design spoke. System designers respond to requests from lead designers. Narrative designers and writers don’t interact with system designers much unless they have to. As an example of interaction here, system designers might come to writers and say, “Alright, so we’re doing combat, what are the sorts of things a mage can do in this world?” The writers would be like “Ok, these are the sorts of spells we imagined.” The system designers might then come back with “Ok, that fulfills 2 of the 10 things we need mages to be able to do in combat. Is it possible that mages could do [this]?” Sometimes it is, and other times it would be like “No, that’s really outside of the lore”. Still, sometimes said original-lore-breaking things would be added to the game a week later due to necessity and DG would be like “Oh ok”. This kind of stuff is an insight into how some aspects of the lore came to be or changed over time during development.

The system designers on DAO got a better idea of what could be done and what could not be done according to the lore as things went on. At first, DG had to keep telling them things like “It’s not that big a deal, but in the lore mages can’t teleport. Instant teleportation isn’t possible in the world”. The system designers needed a spell where someone could get from spot A to spot B really fast on the battlefield. DG said that that’s fine in itself, “have them turn into a cloud of bees or have a light that moves between the two places. We can use magic as a transition or as a speed thing, but what is against the lore is instant teleportation, to traverse distance like that”. At first the system designers weren’t on board with it, but they got on board with it later.

This sort of thing doesn’t just depend on the system designers. It also depends on what the tech artists are willing to do. Sometimes a certain request made of them was too hard and they said they weren’t able to do it. Other times it was a matter of DG not communicating the request properly, or the tech artists had already done the work and so throwing out all their work to re-do it just because he didn’t communicate clearly wouldn’t have been cool. So sometimes the originally planned lore got contravened, and sometimes things other parts of the team implemented in the game became the new lore.

LE made an insightful observation at this point: You can’t think of game development as a cohesive series of decisions that everyone on the team is involved in. This simple isn’t how it works at all, especially on large complex projects. There are processes at some studios for decision-making, but most of the time, a bunch of decisions get made by system designers. Others get made by level designers, still others by narrative designers. Situations then arise where someone notices a certain decision and that that decision and another one contradict each other. This is where conflict arises and a solution has to be negotiated. This is why often in games we get elements in the end product that are dissonant, because it was discovered too late or by the time it was realized, it was too difficult to change. It’s actually a miracle that on a game of DAO’s depth and scope that all these things largely hold together. [My note: With this insight and the context below on documentation, it makes sense how BW sometimes appear to ‘forget aspects of their own lore’ or end up contradicting parts of the lore in different parts of the franchise]

Sometimes such things would be noticed in time and DG would go and say, “Can we not do that or do something else instead?” and the relevant parties would be totally accommodating and do it (depending on how much time they had or how much time it would take to remedy). Sometimes this worked out and sometimes it didn’t. For the most part, everyone wants to work together. DG couldn’t be involved in every aspect of systems design “like some kind of All-Watchful eye of lore”, so he had to rely on the people who were there knowing enough from the documentation. Not everybody reads every document however. There was so much documentation even back during DAO. DG can only imagine the sheer amount of world/lore documentation that now exists now in the run-up to DA4; he said he thinks that nobody at this point on the current team has read it all, as editor/lore-wrangler Ben Gelinas isn’t with BW anymore. Lots of legacy documentation accumulated very quickly. Sometimes, the old document would still be there. Over time it became harder for people to discern which was the most recent version of a particular document. Sometimes people didn’t update the relevant documentation after changing things. Lore documentation was particularly bad for this issue. BG wrangled all the documentation and created an internal reference wiki (essentially acting as a lorekeeper). He was constantly coming in and picking DG’s brain to clarify conflicting aspects or obtain the correct, in-date information etc (“Good on him”).

DAO was the first time DG was involved in voice-recording. Prior to that he was only on the receiving end, in that the recordings would come in and he’d review them as they did so. DAO is when BW set up their own VO department and where Caroline Livingstone came on. CL wanted DG and Mike Laidlaw to be more involved in the casting process. As a result, the writers then were to write casting scripts: like, ‘For Morrigan, can you write a 1 page script that goes through 3 big emotions? [like regular talking for a bit, then here’s a bit of heightened emotion such as anger, then here’s a part where they’re being funny if they were a comedic character] These scripts had to be kept short so that the recording that was made from it wouldn’t be more than 30-40 seconds in length.

For the initial VA sessions, DG and CL flew down to Technicolor studioin LA and they had all the major castmembers there (later on, recording sessions were done a lot more remotely; this became easier as BW’s setup got more sophisticated). The idea was that they would both be present live in-person for the first 2 or 3 sessions to help each VA find their ‘voice’, and for DG at the first session to sit down with each VA and walk them through who their character was, what DA was about, and help them figure out how their character should talk. Claudia Black was the first of these sessions and he was “a wreck” going into that one. It got easier after that however. CL gave directions into the soundproof booth and DG was present to give notes on things like pronunciation or the intentions behind some lines. He says he learned everything he now knows about VO direction from CL. The things and tricks CL can do to get a performance out of an actor are amazing. Sometimes an actor would get a bit fixated or stuck on a particular way of delivering a line. CL had atrick to help them past this; “I want you to clear your mind, and I want you to give me a version of this line that’s more yellow”. The idea is that they just had to break out of where they had been stuck in that mindset, and the thing was that it doesn’t matter what “yellow” meant, but what was important was what “yellow” meant to the actor. They could then take that new varied delivery and progress from there.

Alistair’s dialogue when the PC talks to Flemeth outside her hut was the first complex conversation DG wrote for DAO. It was the first one that had a lot of branching and fiddling to it. The hardest conversations to write are the ones with a lot of exposition, and when they do have exposition still making this interesting and natural. At this point in the game, the player has no agency, just reactivity. The devs talked a lot about this subject when they wrote the origin stories. Some of the stories allow the player to initially say no and refuse to join the Wardens, but you always end up being railroaded (the devs here ended up doing a form of the trope ‘But Thou Must!’). Do you give the player the option to say no? Is it important to allow them that option? At some point, writers have to accept that the player has some level of buy-in and is game to play. They discussed a lot where they sat on this and what is agency. “Maybe don’t worry about offering the player every possible choice, but about having reactivity.”

Loghain wasn’t okay with letting Cailan die. He didn’t sit and angst about it openly where the player could see, and once the decision had been made, it being Loghain, it was Made and Had To Be Done (he felt that it was something that had to happen). But he didn’t kill the son of the woman he’d once loved dearly as a random off-handed thing.

The Solas twist was planned from the beginning, from the DAO dev days. Such big things/broad strokes have stayed the same. However, some of the details have changed or been added along the way. They didn’t know for instance that Solas was going to be a companion; that was something they came up with when they were planning DAI. Flemeth’s true identity has never changed.

Zevran says Rinna was an elf, but WoT says she was a bastard child of a noble in line for the Antivan throne (the Antivan royal family being human). When asked if this was an oversight, DG said yes she was a bastard, but she may have been really far down the line of succession, i.e. technically in line, but would probably never have been allowed to take the throne in practise had that scenario ever actually arisen.

DA was maybe inspired a bit/some by ASOIAF. This was way before it was on TV of course. DG at the time had read the first book or so. He liked the fact that it was a fantasy setting but low-magic, and was about the people in the world and their politics rather than magic, prophecy and other high fantasy stuff.

It was only by DAI that the system designers decided that it was okay to think of banter as an “activity that players engaged in”. In previous games, the devs had inadvertently managed to ‘train’ players to immediately stop when companion banter fires so that they could hear it all (because if you do something else, it gets cut off). When the level designers put together the spaces, they accounted for what players would be doing i.e. how much time between combat. They didn’t however account for like “You’re travelling down this hall and there’s a banter for half of that space. This is an activity, so it’s okay not to put anything in there”. This is how the inadvertent training happened, when originally banters were supposed to be a thing that ran as you move around the world (as opposed to stopping and standing still).

When asked if the Blight resulted from the creation of the Veil or pre-dates it: “I think you’ll probably have to wait on the game[s] for that answer, if it ever explains it”. He was also asked whether Arlathan is the Golden City. He won’t answer such questions naturally because they are “DeepLooooooore™~~ ♫”.

DG isn’t sure that he will play DA4 when it comes out. It’s not that PW and the team won’t do a good job, they will, it’s just that when DG plays RPGs he has an analytical mindset going on and finds it difficult to slip into the game and just enjoy. For DA4, as he was previously so involved in DA, there’ll naturally probably be an extra level of that with feeling like “What would I have done [for particular parts of the game’s design]?”. Alternatively he might instead feel like “Wow, this is awesome, here’s a game I would have made but didn’t have to do any work on!” DG stressed that it’s important to him to be fair about the work of his former colleagues - he wouldn’t want to come out and be like “I wouldn’t have made [this or that] choice”. He also noted that just because something might be a call he personally wouldn’t have implemented in the game, that doesn’t mean it’s a bad call. There are people out there where if DG intimated at all that there was an aspect of DA4 that he wasn’t keen on, he’s worried that they would pounce on it and use it as ammunition against the current team (who are his friends that he really cares about and wants to do well). He walked away from DA voluntarily and is happy his game will continue on. PW popped by in chat at this point and agreed that it’s definitely hard to play something that you used to work on.

Other assorted tidbits:

DG really opposed the part at the Battle of Ostagar where mabari are set to charge the darkspawn horde - “That’s not how you would use dogs [in war]”

There was supposed to be a cutscene where Flemeth rescues the HoF and Alistair from the top of the Tower of Ishal in her dragon-form. This was cut. DG remembered being angry about this like “nobody is gonna buy that you fall unconscious and then wake up in the hut totally rescued. [...] I guess I’m not always right”

When DG went to Beamdog there was a period where they thought about making a Baldur’s Gate 3. They put together a pitch and had a long series of discussions contemplating things like “What do we need from BG3? What do we expect it to have in order to have the BG name? What is needed and not needed to connect to from the previous games?”

DG isn’t sure who designed the DAO inventory system

PW in chat recalled a game writer from another company who was really ragging on DAI on the Christmas Day after release

Narrative designer and system designer are very different positions/roles with very different responsibilities

Simon Templeton as Loghain did all his voicework stuff in one take, which was very impressive

It would have been the marketing department that chose 30 Seconds To Mars for music. DA was really good at choosing up-and-coming acts for this that weren’t huge when they used their songs, but became huge afterwards

During work on Baldur’s Gate 2 was the most DG has ever crunched. He slept in the office a few times

“As soon as you get both Alistair and Morrigan in the party, that’s when it’s like ahh yes, this is a BioWare game”

Were Flemeth and Morrigan’s interactions with each other and the PC when Morrigan is being told to leave the Wilds and go with the Hero an act, considering that Morrigan did know about the OGB plan? No. That was The Plan, but said plan wasn’t like “Ok, she’s going to leave Right Now”

The elves and the inversion of the traditional elven trope are DG’s favorite part of the world/world-building

One of the original intentions for DAO was to make it so that the player wouldn’t need a healer in the party, or that there would be different kinds of healing, or that healing itself wouldn’t be a thing, but this just didn’t work out

The Imperial Highway used to be a really important part of the lore but it kind of got forgotten a bit

It’s kinda funny that after release some players expressed that Corinne Kempa’s accent as Leliana was “sooo fake”. It’s not fake, she’s actually a Brit that moved to France when she was young, so she has the exact type of accent that Leliana would have (Leliana was born in Orlais and is culturally Orlesian, but her mother was Fereldan and she considers herself as such)

They talked some about the need for documentation and how doing this can feel beurocratic and uncreative and how like you’re not working on a game or writing. PW in chat expressed that there was a year where they spent a lot of it working in PowerPoint and Excel, “so I feel this”

When they switched art directors to Matt Goldman, his first big complaint was about all the brown. He came to DG like “Is there a lore reason for or are you particularly in favor of the brown for story reasons?” DG was like “Uhh no” and Matt was then like “Ok good”

Console codes/commands aren’t usually stripped out of a game before release, they are usually still in the built, just disabled. The system itself is not removed but how to access said system is

BW doesn’t crunch as bad as we hear some companies do, and kind of prided itself on “not being terrible at crunch”. But BW’s “not terrible at crunch” is still crunch. We obviously don’t commend abusive family members for only abusing people on certain days of the week or whatever

Kate Mulgrew is American but she at times did the same thing a lot of the British VAs did, which was that the devs had a lot of struggle with getting them to say “darkspawn” correctly, with the emphasis in the right places. They’d say “dark SPAWN” as if it was two words with an adjective, and the stress put in the wrong place

Lack of children in DAI was a resources thing. They only had time to make a certain number of models. There was a series of meetings where they had to decide what things to cut. In the last meeting it was like ‘Here’s a bunch of things you don’t want to cut, we need to cut 4 of them’

They decided to put horned qunari back in DA2 because then they had the resources to do so. They then ended up having to explain why there were hornless qunari at the same time, and make this an in-world explanation as opposed to just ‘We didn’t have the resources, that was totally intentional’

Lots of players missed out on recruiting Leliana and/or Sten on their first playthrough and didn’t even know they existed/could be recruited. “Apparently we weren’t that great at pointing players in the right direction”

Tevinter is inspired by the Byzantine Empire (which wasn’t called that at the time incidentally, this is a name given by historians after the fact), what used to be the Roman Empire after the western part fell. This is the era Tevinter today is meant to encapsulate: decadent but clearly in decline, far away from the heyday and the heights of the former empire [source]

[Part 1]

[Part 2]

[Part 4]

[Part 5]

[Part 6]

[‘Insights into DA dev from the Gamers For Groceries stream’ transcript]

#dragon age #bioware #video games #morrigan #queen of my heart #alistair theirin #fav warden #dragon age 4 #the dread wolf rises #solas

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iconiceyessheffieldsouthyor-blog · 5 years

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costello50hoyle-blog · 5 years

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reputationiseverything · 4 years

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email marketing campaign strategy

A visitor hits your website and wants to talk to you. What does that person start searching for?

Your Contact Us page.

It’s a page on your site that pushes visitors from browser to buyer.

Some companies don’t use them at all, and those that do have them often push these critical pages to the back burner during website revision projects.

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I’ll share a step-by-step plan you can follow to strategize and revise this lowly web page. And I’ll use plenty of examples to spark your creativity.

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Think of a Contact Us page as a sort of digital business card. Sure, it’s short and concise. But if someone wants to reach out to you, they’ll use this page to do so.

About Us pages: Use this resource to explain your company’s history, goals, and direction. If someone wants to know how you became a leader in your field, the data is ready to go.

Help pages: Customers with critical product or service questions lean on this page to get their answers.

Employment pages: Job seekers need private, protected spaces to learn more about open opportunities.

A Contact Us page is different because you’re telling people more about getting in touch with you.

Your page should also embody your brand and entice that click. If your Contact Us page is the blandest one on your website, you’re not alone. The best contact us pages contain some value proposition, even when they don’t have a lot of text.

Do You Need a Contact Us Page?

A Contact Us page can’t be skipped because it is a trust signal. Share location information and highlight your phone number and email, and you’ll demonstrate to wary consumers that they can reach you at any time.

Trust and transparency matter in marketing. Contact Us pages start the process.

Five Key Contact Us Page Elements

You know you need a Contact Us page. But you have no idea what to put on the page. Push past the writer’s block, and follow this recipe for success.

A converting Contact Us page contains these critical pieces:

Your company name: Don’t beat around the bush. Use your full company name.

Your physical address: This can get tricky for multi-location companies. Maps often solve the problem (and more on that in a minute). If you share only one address, use the one associated with your corporate headquarters.

A map to your location: Google Maps hold immense power for marketers. When customers know where you are, even when they’re looking at a mobile device, your conversion rates can skyrocket. Boost that power by adding a Google Map to your Contact Us page.

Your contact information: Include a phone number, email address, and a quick data-collection form. Customers need plenty of calls to action. Fight off spam with a CAPTCHA as well.

Links to relevant pages: If you know customers have product questions, show them to your Help page. If you have plenty of job seekers, highlight that Jobs page.

Don’t be tempted to clutter up the page with more details and data. Keep things clean and streamlined with this list.

Build the Perfect Contact Us Form

If you’re looking for a way to streamline customer conversations, forms are key. If you build forms correctly, routing questions is a snap.

Your form could include several fields, including:

Name

Location

Current customer (Y/N)

Question

Email address

Phone number

You might be tempted to add all of these fields to your form. The more data you have, the better, right?

Not always.

When customers face a sea of questions, they tend to click away. Form completion rates and added fields are inversely related.

To keep those conversion rates up and deliver exceptional user experience, only ask critical questions.

10 Exceptional Contact Us Page Examples

I’ve talked a lot about what should and shouldn’t go on a Contact Us page.

These ten companies have lessons anyone can apply.

Streamlined and Simple: Scorpion

Scorpion offers internet marketing services to law firms, hospitals, franchises, and more. The company shows off robust design skills on all other web pages. But this one is remarkable in its simplicity.

Customers answer one simple question with a dropdown. The answer routes them to an appropriate secondary form.

Customers can also skip the hassle of forms altogether, call the number in the top-right corner of the screen, or visit one of three locations listed at the bottom of the page.

Brand Promise First: BarkBox

A subscription service for happy dogs should have a dog’s photo on a Contact Us page. And that dog should look happy. BarkBox has that element covered.

Customers have three different contact options sitting below that big image. They can search FAQs, start a live chat, or send an email. It’s a simple, streamlined interface made for busy dog lovers.

Personality Plus: Kick Point

This Canadian marketing firm kicks off the About Us page with a chatty, conversational tone.

Keep scrolling, and that clever voice keeps speaking. When you reach the bottom of this page, you know just how these employees talk and write.

The cleverness doesn’t impede clear communication. You’re told the company’s address, email address, phone number, and more.

Crisis Communication: Powell’s Books

Powell’s puts customer communication front and center on this Contact Us page. Timely content about shipping delays comes first. Keep scrolling, and you’re taken to email addresses and phone numbers.

Typically, converting Contact Us pages are short. But you can break the rules when the unexpected happens.

Arresting Graphics: Parker Lee

People hire Parker Lee to design logos, websites, and other branded elements. He puts those skills to work on this visually arresting Contact Us page. The page begins with a brand statement, but scrolling past that is a snap.

A simple form with just four fields appears, and a clever map rounds out the page.

Forms Do the Hard Work: Six Leaf Design

This company emphasizes sales on this Contact Us page. A three-field form, with a tiny multiple-choice quiz, gets potential customers a price quote.

A blue button for anxious customers leads right to a 20-minute consult appointment. For companies hoping to emphasize lead generation, this is a smart model to follow.

Friendly Faces: Byte

Who will customers talk to when they reach out? Byte answers this question with photos of real-life customer service reps ready to respond to questions.

Choose from multiple contact formats, including text, email, Facebook message, and email. All of this data is streamlined, so white space surrounds the page.

Product Photography: Freshly

Freshly offers meal-kit delivery services, and an enticing product takes up about half of this Contact Us page. Putting the product first could attract customers to jump into a purchase.

The contact box is the clever bit. Customers can chat, call, text, or skip to email.

This is a simple, friendly interface that puts the product first.

Multi-Location Mastery: Wendy’s

How do you handle inquiries when customers have dozens of locations to choose from? Wendy’s handles this question with a “Find Wendy’s” button at the top of the page.

Customers with questions can text or call a number displayed in big, black text. It’s nearly impossible to miss. A clever, short form rounds out the page.

Short and Sweet: My Own

I put best practices to use on my website’s Contact Us page. I use a drop-down to route questions, and I ask customers to fill out just three fields.

I keep the branding light on this page, but the colors remind my guests that they’re still on my site.

I also link to relevant social media sites to follow me through those platforms. My digital marketing consulting contact form is similar. Short and sweet with just the information I need to know.

We’ve walked through several examples of pages that convert. And we’ve shared quite a few tips you can put to use right now.

But there’s more to learn.

As you’re working on your Contact Us page, be sure to:

Be a good journalist. Put the important stuff first. Your visitors are there to connect with you. Make those opportunities easy to find and deliver an exceptional user experience. Save the rest for last.

Promote your page like a pro. Put a link to your page in your email signature and link it to your social media accounts. Make sure customers know you’re interested in a connection.

Link to your page. Customers look in the top-right corner of a page for Contact Us links. Make sure each page on your site connects to that critical page.

Before you publish your Contact Us page, be sure to avoid:

Cluttered design. Don’t fill the space with tons of graphics, jokes, or text blocks. Respect what your consumers are there to do – contact you.

Overconfidence. Use A/B testing to find the design your customers want. Don’t be overconfident about your design prowess — you might be surprised by what works!

A desktop-first mentality. Test your site on mobile devices. Try out the form fields. Plenty of customers will visit you on the go; make sure their experience is a good one.

It takes time to design a Contact Us page that converts. Don’t be afraid to slow down, test, and head back to the drawing board. You can’t afford to make mistakes on such an essential piece of your website.

Conclusion

Your Contact Us page is one of the most critical assets on your website. People head here when they want to reach you. Make that communication as quick and painless as possible.

Publish with confidence, and watch those conversion rates. If you don’t see the response you want, change it!

With experimentation and vigilance, you can develop the right Contact Us page that works for your customers, your company, and your community.

Is your current Contact Us page lacking? What can you change to make it more effective?

FaceBook

0 notes

remelitalia · 4 years

Text

A visitor hits your website and wants to talk to you. What does that person start searching for?

Your Contact Us page.

It’s a page on your site that pushes visitors from browser to buyer.

Some companies don’t use them at all, and those that do have them often push these critical pages to the back burner during website revision projects.

That stops today.

I’ll share a step-by-step plan you can follow to strategize and revise this lowly web page. And I’ll use plenty of examples to spark your creativity.

Let’s get started.

What Is a Contact Us Page?

Think of a Contact Us page as a sort of digital business card. Sure, it’s short and concise. But if someone wants to reach out to you, they’ll use this page to do so.

About Us pages: Use this resource to explain your company’s history, goals, and direction. If someone wants to know how you became a leader in your field, the data is ready to go.

Help pages: Customers with critical product or service questions lean on this page to get their answers.

Employment pages: Job seekers need private, protected spaces to learn more about open opportunities.

A Contact Us page is different because you’re telling people more about getting in touch with you.

Do You Need a Contact Us Page?

Trust and transparency matter in marketing. Contact Us pages start the process.

Five Key Contact Us Page Elements

You know you need a Contact Us page. But you have no idea what to put on the page. Push past the writer’s block, and follow this recipe for success.

A converting Contact Us page contains these critical pieces:

Your company name: Don’t beat around the bush. Use your full company name.

Your contact information: Include a phone number, email address, and a quick data-collection form. Customers need plenty of calls to action. Fight off spam with a CAPTCHA as well.

Links to relevant pages: If you know customers have product questions, show them to your Help page. If you have plenty of job seekers, highlight that Jobs page.

Don’t be tempted to clutter up the page with more details and data. Keep things clean and streamlined with this list.

Build the Perfect Contact Us Form

If you’re looking for a way to streamline customer conversations, forms are key. If you build forms correctly, routing questions is a snap.

Your form could include several fields, including:

Name

Location

Current customer (Y/N)

Question

Email address

Phone number

You might be tempted to add all of these fields to your form. The more data you have, the better, right?

Not always.

When customers face a sea of questions, they tend to click away. Form completion rates and added fields are inversely related.

To keep those conversion rates up and deliver exceptional user experience, only ask critical questions.

10 Exceptional Contact Us Page Examples

I’ve talked a lot about what should and shouldn’t go on a Contact Us page.

These ten companies have lessons anyone can apply.

Streamlined and Simple: Scorpion

Customers answer one simple question with a dropdown. The answer routes them to an appropriate secondary form.

Customers can also skip the hassle of forms altogether, call the number in the top-right corner of the screen, or visit one of three locations listed at the bottom of the page.

Brand Promise First: BarkBox

A subscription service for happy dogs should have a dog’s photo on a Contact Us page. And that dog should look happy. BarkBox has that element covered.

Personality Plus: Kick Point

This Canadian marketing firm kicks off the About Us page with a chatty, conversational tone.

Keep scrolling, and that clever voice keeps speaking. When you reach the bottom of this page, you know just how these employees talk and write.

The cleverness doesn’t impede clear communication. You’re told the company’s address, email address, phone number, and more.

Crisis Communication: Powell’s Books

Typically, converting Contact Us pages are short. But you can break the rules when the unexpected happens.

Arresting Graphics: Parker Lee

A simple form with just four fields appears, and a clever map rounds out the page.

Forms Do the Hard Work: Six Leaf Design

This company emphasizes sales on this Contact Us page. A three-field form, with a tiny multiple-choice quiz, gets potential customers a price quote.

A blue button for anxious customers leads right to a 20-minute consult appointment. For companies hoping to emphasize lead generation, this is a smart model to follow.

Friendly Faces: Byte

Who will customers talk to when they reach out? Byte answers this question with photos of real-life customer service reps ready to respond to questions.

Choose from multiple contact formats, including text, email, Facebook message, and email. All of this data is streamlined, so white space surrounds the page.

Product Photography: Freshly

Freshly offers meal-kit delivery services, and an enticing product takes up about half of this Contact Us page. Putting the product first could attract customers to jump into a purchase.

The contact box is the clever bit. Customers can chat, call, text, or skip to email.

This is a simple, friendly interface that puts the product first.

Multi-Location Mastery: Wendy’s

How do you handle inquiries when customers have dozens of locations to choose from? Wendy’s handles this question with a “Find Wendy’s” button at the top of the page.

Customers with questions can text or call a number displayed in big, black text. It’s nearly impossible to miss. A clever, short form rounds out the page.

Short and Sweet: My Own

I put best practices to use on my website’s Contact Us page. I use a drop-down to route questions, and I ask customers to fill out just three fields.

I keep the branding light on this page, but the colors remind my guests that they’re still on my site.

I also link to relevant social media sites to follow me through those platforms. My digital marketing consulting contact form is similar. Short and sweet with just the information I need to know.

We’ve walked through several examples of pages that convert. And we’ve shared quite a few tips you can put to use right now.

But there’s more to learn.

As you’re working on your Contact Us page, be sure to:

Promote your page like a pro. Put a link to your page in your email signature and link it to your social media accounts. Make sure customers know you’re interested in a connection.

Link to your page. Customers look in the top-right corner of a page for Contact Us links. Make sure each page on your site connects to that critical page.

Before you publish your Contact Us page, be sure to avoid:

Cluttered design. Don’t fill the space with tons of graphics, jokes, or text blocks. Respect what your consumers are there to do – contact you.

Overconfidence. Use A/B testing to find the design your customers want. Don’t be overconfident about your design prowess — you might be surprised by what works!

A desktop-first mentality. Test your site on mobile devices. Try out the form fields. Plenty of customers will visit you on the go; make sure their experience is a good one.

Conclusion

Your Contact Us page is one of the most critical assets on your website. People head here when they want to reach you. Make that communication as quick and painless as possible.

Publish with confidence, and watch those conversion rates. If you don’t see the response you want, change it!

With experimentation and vigilance, you can develop the right Contact Us page that works for your customers, your company, and your community.

Is your current Contact Us page lacking? What can you change to make it more effective?

The post Contact Us Page Tips: Move From Blah to Yeah! appeared first on Neil Patel.

Original content source: https://neilpatel.com/blog/contact-us-page/ via https://neilpatel.com

See the original post, Contact Us Page Tips: Move From Blah to Yeah! that is shared from https://imtrainingparadise.weebly.com/home/contact-us-page-tips-move-from-blah-to-yeah via https://imtrainingparadise.weebly.com/home

#IM TRAINING PARADISE - Home

0 notes

servetolive · 6 years

Note

Maddox/B4 “you’re not the one i love.’

spiritual sequel to “Test Subject Day Job.” kinda fluffy. literally just got drunk, chilled, and wrote whatever tf. also sorry riker, but the idea that ppl don’t watch movies or television in the 24th century is fucking lame so w/e

B4 was up and ready to go at 0500 the next day, nudging the sleeping Maddox when the replicator failed to make coffee at the usual time.

“Bruce?” He asked, shaking the human’s arm gently.

His head underneath a pillow, Maddox hmm’d and shifted over to his side.

“It’s time to get up.”

Maddox tossed moved the pillow from his head. His hair was greasy and his breath smelled like whiskey. With squinted eyes, he checked his wristwatch.

“It’s Saturday, B.”

And with that, he turned over on his stomach, his sheets falling from his naked ass, and went right back to sleep.

Slightly embarrassed, B4 said nothing. He dressed quietly and played with his blocks, organizing them by the color of the spectrum until he smiled at his ingenuity.

They spent a quiet day at home, with the lights turned off for the majority of the day so as not to aggravate Maddox’s headache.

B4 was learning quickly when to be quiet. While Maddox sat at his kitchen table, frowning into a PADD, he set down a mug of strong, dark roast coffee in front of the cyberneticist.

“Thank you,” Maddox said without looking up, taking the coffee to his lips.

“You’re welcome.” B4 excused himself into the living room, found his own PADD, and played a matching game with it, until Maddox heard childlike giggling.

After he’d finished the coffee, he placed his PADD on the table and sat on the floor across from the android and asked him what he was playing.

Smiling, B4 showed him the tablet.

“Ah. Tetris.”

Maddox looked at the score. His charge wasn’t doing so well. He plucked his glasses from their place in the collar of his shirt and put them on, taking the PADD from him.

“May I try?”

Delighted, B4 scooted closer to Maddox, leaning over with wonder to see how quickly his friend could clear line after line.

At B4′s request, they watched a movie in the living room after dark. Maddox had no reason to turn him down.

They sat on the couch, Maddox comfortably clad in threadbare sweatpants and a hoodie from his time on the Academy’s track team that had seen its best days; B4 snuggled in a set of hand me down pajamas that Data had given him.

For whatever reason, B4 had chosen to watch a spaghetti western. Maddox paid no mind: he was working, his head in a PADD and his legs tucked underneath him, leaning against the armchair of his couch while his android gently lay his head in his lap, watching the black and white frames on the TV.

It took about forty-five minutes before Maddox’s eyes began to hurt. He put down his PADD and removed his glasses, running a hand through B4′s hair as he pretended to watch too.

Wordlessly, B4 shifted his weight, moving so that he was looking directly up at the scientist.

It took no time at all for him to notice. Maddox enjoyed B4′s calculated silence; a symbol of progress on the android’s part: and more importantly, on his part.

He leaned down to kiss B4 in what began as a gentle form of recognition for his hard work and good behavior. Then he opened his mouth to him and cradled his face in his hands, in what became–to the android–a symbol of his affection.

They went to bed quietly, B4 asking no questions, only sighing pleasantly when Maddox acknowledged his arousal by placing his slender hand around it as he fucked him slowly, gently, his lips in contact with the android at nearly all times.

He was hooked up again, wires extended from his skull like a sick child on life support. This time, there were multiple techs included in the experiment–including Jessica, the chatty girl that he had grown fond of.

Unfortunately, he had no time to talk with her at all that morning. He had learned that when there was more movement than usual in the lab, it benefited him best to be silent.

“It won’t hurt today, B4,” Maddox had said to him before he even had a chance to ask. He believed him–why would he lie to him, an android?

“Might be a bit uncomfortable, but it won’t hurt.”

“Okay,” B4 said, amiably. He was still warm from his memory of the night before, how Bruce had held him close and fallen asleep with a head on his shoulders. It hardly bothered him that he was naked this time, and it certainly did not seem to be of any concern to anyone involved.

“So today,” the cyberneticist began, “Is going to be a little bit different. I’m going to show you a series of photographs. You may speak if you want.”

“Okay.”

The first one: a classic, black and white photo of a man and a woman, kissing; a rose held between them.

B4 smiled. Maddox turned toward his station and plucked at his PADD.

The second one. A girl laughing in the rain, without an umbrella.

B4 found the picture pleasant, but was otherwise indifferent to it.

The third: a vibrant photograph of shrimp linguini. Bored, B4 ignored it.

The fourth: a display of Fourth of July fireworks. B4 chuckled.

The fifth: a black and white photograph of someone’s tongue sticking out of an open mouth, saliva and bubbles dripping from it. B4 was confused, and felt strangely about it.

The sixth: a moving picture of an erect male horse mounting a female. Something pulled at him–something he couldn’t define.

Each picture grew exponentially explicit. A naked breast. A triangle of pubic hair. An erect penis lying against a navel. Welts on exposed buttocks.

“Bruce,” B4 asked on the thirty-second picture; a man’s mouth waiting expectantly on the other side of a glory hole. Maddox turned to him.

“I…” B4 shifted his weight in his chair. He looked down at his half-erect penis, not quite remembering it appearing.

“I don’t understand.”

“Computer,” Maddox said. “Pause playback.”

The computer acknowledged with a chime.

“B4,” Maddox said in his stern, “work” voice, which B4 felt the most uncomfortable about. “We’ve talked about this before.”

“I don’t remember.”

Maddox knelt before the android. “Yes, you do. Androids don’t forget, B.”

B4 wasn’t quite sure how to explain to Maddox that it was the context of this experiment he was missing. He didn’t quite have the best grasp on the idea of context in the first place.

He looked down between his legs again. He was leaking. Pathetically, he looked back at Maddox.

“I–”

“You know what this experiment is,” the human said, annoyed. From behind him, he could hear the taptap of Jessica’s stylus. “You know what’s expected of you. Perform your natural response to this imagery.”

“I can’t,” he said quietly, eyes shining with moisture. “I need h–”

Before he could finish his sentence, Maddox drew himself upright and said to Jessica and the two techs:

“You’re dismissed.”

B4 turned to gauge Jessica’s reaction. She was shocked; disappointed. Her bottom lip fell open partially to reveal her braces and the arm with the PADD fell to her side.

“Commander, but–”

“Get out, I said.”

She wasted no time in ushering her techs out of the door and scurrying away herself. Maddox placed a security lock on the door before coming around to stand in front of B4.

“I’m not going to help you this time, B,” he said, the tenderness of the night before hacked to pieces with the sterility of the environment. “Do your job.”

He continued the battery of visual stimuli. B4 was so distracted that he hardly paid any of them mind.

“I want to go home,” he said, looking through the graphic images rather than at them.

Maddox paused the playback again. He drew in a deep sigh, before whirling on B4. He was about to say something, before his combadge buzzed.

He reached underneath his labcoat to touch it.

“Yes,” he said, deeply annoyed. “What is it?”

“Commander, excuse the interruption, but you have a guest?”

“A guest? But–”

He stopped talking. His face relaxed in a strange way, as if he suddenly remembered that he were expecting someone. B4 sat quietly; patiently, listening.

Maddox touched his combadge again. “Show him to my office, please.”

“Acknowledged.”

Immediately, Maddox removed his labcoat and draped it over his chair at his workstation, entering a few commands into it.

“B4, I want you to stay right there,” he said as he moved toward the door. He entered a few digits into the touchpad and walked out.

“Remember our discussion,” he said vaguely, before the door slid shut between them.

B4 counted the minutes. Twenty-four and thirteen seconds before he heard the low rumble of Maddox’s voice in the hallway, the door of the adjoining laboratory sliding open, and another familiar voice.

To his right, where the images were projected, the glass lit up to give him a one-way view of the next room.

“Hey,” he said out loud, happily and with a smile. “There is the Little One.”

Data and Maddox had entered the lab, Maddox with a broad smile on his face. He couldn’t precisely hear what they were saying: the sound feed was off, and he had not yet mastered the skill of lip-reading.

They chatted for a while, his brother’s gold top looking magnetically out of place to him, after seeing nothing but science teal for so many months.

He wanted so badly to say hello or tap on the glass, but he stayed put in his chair, hooked up to Maddox’s sensor readings.

“What are they talking about about?” he wondered aloud.

Data was engaging with Maddox, but neither of them were looking at panels or PADDs, nor did it seem that they were discussing anything remotely related to work.

Eventually, he saw Maddox touching Data’s elbow gently, before his hand fell down to his side.

Data’s lips moved. The two stood closer.

B4 felt strange. He wasn’t smiling any longer.

And before long, he saw Data lean down towards Maddox to kiss him, his eyes closed. Maddox clutched at the front of Data’s uniform. They stayed like that for what seemed like forever, exploring each other’s mouths. Maddox had a look on his face that B4 had never before known him to have when they were together.

When they moved away from each other, Maddox brought his hands up behind Data’s back and unzipped him. Data shrugged out of his top while Maddox worked on his trousers, a look of absolute devotion and desire on his face.

B4 began to sniffle.

It took the sight of his human friend clearing the desk against the far wall with a sweeping motion of the arm and sitting upon it, his legs open, for B4 to understand what Maddox wanted. Data moved between Maddox’s thighs, his cock exposed from his black slacks, and pulled the human close to him, fucking him against the desk.

He couldn’t hear, but he saw how much Maddox enjoyed it; how hard he was, how his mouth remained open, how he kept rolling his head back, how Data kept leaning forward as if to drink from his moans.

When Maddox reached for his cock, so did B4; and when the human came, so did he.

B4 looked down on his soiled hand. He didn’t see how Maddox had kissed his brother passionately; hands roaming up his back and into his hair, and how the android had pulled out of him, or how they had cleaned the mess afterwards.

He didn’t look up until Maddox, in a new uniform and with his hair in perfect condition, returned to the main lab fifteen minutes later.

Satisfied, he exhaled.

“How was it, B4?” He said, turning to his terminal and picking up the PADD he’d left at his desk. “Did you enjoy that?”

B4 didn’t answer, and Maddox didn’t complain.

“Nice,” he said, turning to his charge. “Very nice.”

He knelt down and put a hand against B4′s neck.

B4 only looked up at him with glistening, pained eyes as Maddox pulled him in for a hug.

“Oh, you stop that,” he said.

“Just another pony.”

A week later, B4 was prepared when Maddox’s secretary called for him to attend to another visitor.

Or so he thought.

“Oh no,” B4 complained sadly as he watched a black-haired girl stand on her toes to give Maddox a hug. They leaned their mouths into each others’ necks, and Maddox’s eyes flicked to where he knew B4 would be able to see.

“Not the Baby.”

#the monster and the idiot #b4/maddox #b4 #bruce maddox #tng #fic #sad #:(#data/maddox #implied lal/maddox #goddamn maddox is a fucking hoe

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warninggraphiccontent · 4 years

Text

5 June 2020

A quiet week

Yeah, right.

It was Data Bites #11 on Wednesday. It was good. You can watch the video here. It will also appear here soon. There's a Twitter thread here. Previous events are here. The next one will be on 1 July. And Glyn made paella.

I wrote 3,000 words explaining how government is planning to use our personal data to combat coronavirus - contact tracing apps and much else besides...

...and I discussed data on this week's IfG podcast with team IfG, and special guest Rowland.

I wittered on a bit more on Twitter about the tenth anniversary of David Cameron's open data letter.

What are you doing this Monday morning at 0930? You're watching me interview digital government rockstar and revolutionary, Audrey Tang, about Taiwan's coronavirus response, aren't you? Register here.

We're doing a short report on digital government and coronavirus - how did existing services cope, how has it accelerated change, etc. If you're a UK civil servant, we'd be very grateful if you could spend two minutes filling out our survey on remote working tools. Thank you!

Don't forget our spreadsheet of data-related developments in the UK government's coronavirus response. And don't forget to add anything that we've forgotten to add.

There's just under a week left to enter the Orwell Youth Prize. If you know any 12-18 year olds, let them know!

Some good people doing good things:

Julian (and other former colleagues) have just launched Engage Britain, a new approach to tackling the biggest challenges facing the UK (using, in part, the same platform Taiwan uses for public engagement)

Rachel has helped bring together a number of charities to call for a data collective to get charities the data they need to make a difference; and

Hera is leaving the Open Contracting Partnership to go full-time at Chayn, a global volunteer network providing resources to help women experiencing abuse.

Giuseppe highlighted Loud Numbers, a new data sonification podcast coming later this year. Here are my data sonifications from late last year.

And to bring it full circle back to this week's Data Bites... I couldn't resist illustrating just how stupid this week's developments in parliament have been by comparing how long the voting queue of MPs was to London buses and Big Ben.*

Finally, the excellent Ben Worthy has a plea to anyone who's used parliamentary data:

Who’s Watching Parliament: help with our survey of data users

Our new project, funded by the Leverhulme Trust, looks at how new data is being used to monitor parliament. We want to know more about who is using data, what they are using it for and how this could impact on their thinking about Parliament and democracy in the UK.

If you have used Parliament data, please help us by filling in our short survey.

The project is being overseen by Dr. Ben Worthy, an academic at Birkbeck College. Please ask him any questions via email.

Have a great weekend

Gavin

*Yes, I know, Big Ben is the name of the doctor.

Today's links:

Tips, tech, etc

How to hold an unconference online (James Cattell)

How Hansard is reporting parliamentary business during lockdown (Parliamentary Digital Service)

Join the COVID-19 Response Network: A Slack Workspace for Public Servants (Apolitical)

Power Dynamics and Inclusion in Virtual Meetings (Aspiration)

Working from home (Andrea Cooper)

Graphic content

#BlackLivesMatter

Minneapolis Police Use Force Against Black People at 7 Times the Rate of Whites* (New York Times)

Covid-19 pandemic hits black voters’ incomes hardest, FT poll shows* (FT)

Photos From The George Floyd Protests, City By City* (New York Times)

1,023 people have been shot and killed by police in the past year* (Washington Post)

W.E.B. Du Bois’ Visionary Infographics Come Together for the First Time in Full Color (Smithsonian Magazine)

W. E. B. Du Bois’ staggering Data Visualizations are as powerful today as they were in 1900 (Nightingale)

What W. E. B. Du Bois Conveyed in His Captivating Infographics* (The New Yorker)

Viral content: cases

UK excess deaths during pandemic reach 62,000* (FT)

UK coronavirus death toll passes 50,000, official figures show (The Guardian)

Coronavirus excess deaths: UK has one of highest levels in Europe (The Guardian)

Coronavirus in charts: the fact-checkers correcting falsehoods (Nature)

Democracies contain epidemics most effectively* (The Economist)

A deep dive into testing statistics (Ed Conway)

Disparities in the risk and outcomes of COVID-19 (Public Health England)

Exclusive: Government censored BAME covid-risk review (HSJ)

This is how many tests have been done, and those that were sent out in May (Paul Bradshaw/Flourish)

There Has Been an Increase in Other Causes of Deaths, Not Just Coronavirus* (New York Times)

Where U.S. coronavirus cases are on the rise (Reuters)

British nursing homes in crisis as deaths mount (Reuters)

Revealed: the coronavirus death toll across Britain - how many excess deaths has your area had?* (Telegraph)

Viral content: consequences

Coronavirus and unemployment: a five nation comparison (IfG)

The vaccine: the only way back to previous life (El Pais)

Trust and Behavioural Responses to COVID-19 (trustgov)

Trust in UK government and news media COVID-19 information down, concerns over misinformation from government and politicians up (Reuters Institute)

Next Wave of U.S. Job Cuts Targets Millions of Higher-Paid Workers* (Bloomberg)

American retailers have laid off or furloughed one-fifth of their workers* (The Economist)

Only 12% of Brits think MPs should have to physically be in Commons to vote during COVID-19 crisis (YouGov)

Is Britain easing lockdown too soon?* (New Statesman)

Anti-viral content

Environmental justice (IPPR)

The hospital corridor (Dr Kate McLean)

Ministerial directions (IfG)

Ministerial moves (me for IfG)

Air pollution in China back to pre-Covid levels and Europe may follow (The Guardian)

‘Going in the Wrong Direction’: More Tropical Forest Loss in 2019* (New York Times)

Meta data

Viral content: contact details

Personal data and coronavirus (me for IfG)

Spot the difference – explaining the Covid-19 apps (ODI)

Germany and Korea expose flaws in the NHS track and trace plan* (Wired)

The coronavirus pandemic highlights the need for a surveillance debate beyond ‘privacy’ (Inforrm)

UK ‘test and trace’ service did not complete mandatory privacy checks (Politico)

Book excerpt: Developing for privacy in the pandemic (Heather Burns)

Viral content: lies, damn lies and...

Sir David Norgrove response to Matt Hancock regarding the Government’s COVID-19 testing data (UK Statistics Authority - more)

Statistics Watchdog Still Not Satisfied With ‘Trustworthiness’ Of Covid Test Figures (Huffington Post)

Informing the pandemic response: What’s next from the ONS? (ONS)

‘No part of the economy remains untouched’: update on how the ONS is measuring the impact of COVID-19 (ONS)

Interview with Sir Ian Diamond, National Statistician of the United Kingdom (UN)

Viral content: everything else

Why we’re calling for a data collective (Catalyst)

The problem of modelling: Public policy and the coronavirus (TLS)

Excess mortality during the Covid-19 pandemic (FT)

AI firm that worked with Vote Leave given new coronavirus contract (The Guardian)

Flawed data casts cloud over Spain’s lockdown strategy* (FT - thread)

Vital data and research projects to tackle COVID-19 searchable via new developments in online health data portal (HDR UK)

Covid, hysteresis, and the future of work (VoxEU)

Big tech

Welcome to the United States of Amazon* (Tortoise)

Whole Foods Just Fired an Employee Who Kept Track of Coronavirus Cases (Vice)

Facebook’s Smooth New Political Fixer (Politico)

Facebook Employees Stage Virtual Walkout to Protest Trump Posts* (New York Times)

Anti-viral content: digital government

More must be done to realise the value of geospatial data (Public Technology)

Facing up to the digital identity challenge (HM Land Registry)

Vision, Voice, and Technology: Is There a Global “Open Government” Trend?* (Administration & Society)

Archival Catalogue Record Identifiers (Down the Code Mine)

SHARED, CROSS-GOVERNMENT PLATFORMS (Jerry Fishenden)

Anti-viral content: everything else

When the Robot You Consider Family Tries to Sell You Something (Slate)

Measurement for Learning: A Different Approach to Improvement (Centre for Public Impact)

Fact-checking the president: A study in post-truth (Martin Gurri)

Us folks at @fullfact have produced a prototype API for how our fact checks related to the coronavirus could be made available as a machine readable view (Andy Dudfield)

Who governs? A new global dataset on members of cabinets (Jacob Nyrup and Stuart Bramwell, via Tim)

The police want your phone data. Here’s what they can get — and what they can’t. (recode)

Why Information Matters (The New Atlantis)

Eye-catching advances in some AI fields are not real (Science)

Opportunities

EVENT: How Taiwan became a coronavirus success story (IfG)

JOB: Head of Geovation (Ordnance Survey)

JOB: Head of Digital Inclusion, Accessibility & Standards (HMRC)

JOB: Technical writer (GDS)

JOBS: Product people (GOV.UK)

JOB: Senior Data Analyst (Lower) (Citizens Advice - more)

JOB: ANALYST, DIGITAL RESEARCH UNIT (Institute for Strategic Dialogue)

JOB: Data Scientist / Mid-Level / Senior Data Scientist (Flowminder)

JOB: Technology Editor (Rest of World)

JOB: Research Fellow, TrustGov Project (University of Southampton)

JOB: Learning and Development Specialist – Data Trainer - maternity cover (ODI)

And finally...

Urban henges… or streets of the rising sun (Victoria Crawford)

Taking Lessons From a Bloody Masterpiece* (New York Times)

When you're building a general course about artificial intelligence, you come across some good memes. (Mindy McAdams)

How Pi was nearly changed to 3.2 (Numberphile)

next slide please (Darren Dutton)

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johnattaway · 4 years

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What Is Vps Ssd

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robertbryantblog · 4 years

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What Is Vps Ssd

Where Virtual Private Server Usa Download

Best Web Host Toronto

Who Was Jumanji Dedicated To

Can’t Delete Email Account From Iphone

The post What Is Vps Ssd appeared first on Quick Click Hosting.

from Quick Click Hosting https://quickclickhosting.com/what-is-vps-ssd-2/

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gofullturtlebouquet-blog · 7 years

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California Web Development - Expert Consultancy About Becoming More From Web Page Design

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